Florence has boasted professed portrait painters, even to the present time; among whom Gaetano Piattoli is particularly extolled. He was pupil to a French artist, Francesco Riviera, who had resided and died at Leghorn, and was very much prized in collections for the excellence of his Conversazioni and Turkish ballets. He is well known too, in other countries; for he was employed to take portraits of the foreign nobility who visited Florence. The portrait of himself, which he painted for the ducal gallery, indicates the style of the rest. An illustrious female artist emanated from the school of Gabbiani, although assisted in her studies by other masters, and this was Giovanna Fratellini, who was not without invention, and was most expert in portrait painting. She executed in oil, in crayons, in miniature, and in enamel, various portraits of the family of Cosmo III. and of other princes, to paint whom she was sent by her sovereign to several cities of Italy. That which she painted of herself, is in the ducal gallery: in it she has blended the employment of the artist with the affection of a mother. She is represented in the act of taking a likeness of Lorenzo, her only son and pupil, who died in the flower of his age. It is painted in crayons, an art in which she may be called the Rosalba of her time. Domenico Tempesti, or Tempestino, is rather included among engravers than painters; though he was instructed by Volterrano in Florence, in the latter art, and exercised it with credit both in landscape and portrait. He is mentioned by Vianelli in the catalogue of his pictures. It would appear that he was the same Domenico de Marchis, called Tempestino, whom Orlandi casually notices in the article of Girolamo Odam, whom Domenico had initiated in the elements of landscape painting. Orlandi gives also a separate article, under the head of Domenico Tempesti, in which his voyages through Europe, and his long residence at Rome, are dwelt upon.